(…) Robert Quint’s work, in which spectators experience something akin to an anticipation of disappearance and decay, radiates a strange and unsettling sense of attraction. The artist’s architectural constructs are haunted by their own demise: the tower of Babel, a ruin in the Romantic tradition, a wave of cars reminiscent of an oil spill stuck to the canvas. Quint’s work is replete with notions of decline and decay, inverting the clichés of innocence and lightheartedness: delicate lace stands for chemical pollution, glittering sequins for sperm, a billboard (‘Mega Value’) for an endangered landscape. Is life itself the only wonderful thing?

Quint is interested in the conditions of existence of the artist and mankind alike, in what he refers to as this ‘next-to-nothing, cast between infinity and nothingness’. To the question of origins the artist adds that of mediation, asking what we can still pass on to our children. (…)

Wivine de Traux, Feb 2010